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Anyone who has visited a Greek or Roman theatre cannot fail to be impressed by the overall clarity of sound without any form of enhancement. The seats arranged in curved rows around the circular orchestra form large horizontal reflecting surfaces. This ensures that the path of the sound waves travel from the source (the actor or singer) to each of the listeners in a direct path (i.e., without reflection). Vitruvius, however, claimed further enhancements could be made. ‘‘In theatres, also, are copper vases and these are placed in chambers under the rows of seats in accordance with mathematical reckoning. The Greeks call them Echeia. The differences of the sounds which arise are combined into musical symphonies or concords: The circle of seats being divided into fourths and fifths and the octave.’’ (Vitruvius, on Architecture, Book I,—on training of architects, Loeb). With the aid of modern‐effect systems that attempt to mimic real and imaginary spaces, it may be difficult to imagine the importance of the Vitruvian idea. This paper demonstrates a number of digital reconstructions, examines the issue of intent, and questions an arguably more complex issue, that of a potential fusion between archaeology, science, and music.

The enigma of Vitruvian resonating vases and the relevance of the concept for today